乔治(Tim Roth 蒂姆•罗素 饰)和安(Naomi Watts 娜奥米•沃茨 饰)带着儿子和爱犬来到城外岛某别墅度假，原本美好的假期却被两个不速之客破坏。两个打扮拘谨，文质彬彬的年轻人敲开乔治的房门，向他们借鸡蛋。安热情地接待他们，然而鸡蛋一次次被有意无意打破，他们的电话也被碰倒水中。安的忍耐到了极限，命令他们离开自己的房子。

年轻人非但不听，反而变本加厉，开始对乔治一家展开毫不留情的折磨与屠杀……

本片荣获2008年少年好莱坞奖一种视角最佳男主角奖(Brady Corbet)。

对话文本:
Funny Games is one of the more repellent and disturbing movies I've seen in quite some time. I suspect that Michael Haneke might take those words as compliment or at least as affirmations that he is doing what he's set out to do.

In some way, this is a straightforward slasher film. You have a bunch of attractive, innocent people who are tied up, abused, tortured, beaten, made to beg for their lives. But this movie also has, or I would say, pretends to have, a much loftier and more critical, intellectual andartistic agenda. It doesn't want to just reproduce dread and horror, but it wants to rub our faces in it and expose our, I mean in particular an American movie audience's, moral complicity, our voyeurism, the relish with which we consume spectacles of suffering and pain and violent brutality. And it wants to make us feel ashamed and guilty and queasy about that appetite.

I don't think Haneke really lends very many of his criticisms. This movie I don't think succeeds in really disturbing the audience and getting us to think about what we are looking at. Instead, it just functions as a kind of highbrow exploitation film that allows you to enjoy what it's doing while also pretending that, you know, you're doing something more serious or self-reflective.

I'm no big fan of movies like the Saw movies or the Hostel franchise that were sometimes called "torture porn." But I have to say that those films have a lot more integrity, a lot more honesty about their intentions, and maybe a lot more self-awareness and self-critical potential than Michael Haneke's Funny Games, which is a very smug, complacent, arch, superior movie that tries to rub our noses in our own experience other than make us somehow responsible for it. But we're not in fact responsible for it, Michael Haneke is responsible for it, and he's responsible for perpetrating, I think, one of the bigger cinematic frauds of the year.